NO PLAYS EXCHANGED. 



„''7\KER'5 Edition 

Copy 1 ============== ■ ^ 




A SYMPHONY IN BLACK 




COPYRIQHT, 18S9, BY WALTER H. BAKER & CO. 



I A. W. PINERO'S PLAYS. | 

jll\ Uniformry Bound in Stiff Paper Covers, 

/j\ Price, 50 cents each. 

/IS 

^!; ^I'i" ='*"', r/*" ??1^'« amateur actors a series of nKuiern pieces of the liigl est 

JkV class all of wl.icli have met with distinguished success in the leadin- En- Kh 

;lw ?"^ Amencan theatres, and most of which are singularly well adai-tecffor ania- 

>4V teur pertonnance. This publication was originally intended for the benefit of 

W readers only but the increasing demand for the plays for acting purposes has 

/l\ f'*'^ outrun t'.'e>r merely literary success. With tlie idea of placing this excel- 
W ent series within the reach of the largest possible number of amateur clubs \ve 

'IS alV^of ' ^""^"'"y '^o offer them for acting purposes at an author's roy- 

jlj\ Ten Dollars for Each Performance. 

/i\ '^?'*, '■'**® ^^^^ not apply to prof essional performances, for which terms will be 

'.fy made known on application. 

/is 

§ THE AMAZONS. I V^.t^t^^'^eV^.^'rll^^r^^^^^^^^^ 

:!: , . ^ . ^ , ,, ,. ?^^'t?rs. Costumes, modern; scenery, an exterior 

M/ f,""* an interior, not at all difficult. This admirable farce is too well known 

W through Its recent performance by the Lyceum Theatre Company, New York to 

Vf coUegef ''"l89'-7' " '^ especially recommended to young ladies' schools and 

w 

«^ THE CABINET MINISTER. | 1^^-^^^:, -- „,By 

\i/ r^ .. , ■■'"d Jii'ie female characters. 

W Costumes, modern society ; scenery, three interiors, A very amusine niece in- 

ytJ gemousm construction, and brilliant in dialogue. (1892.) s y •^, '" 

JK DANDY DICK. I ^ ^^'"''^ I" J'""*? ^"^^^ ^y arthitr w. pixero. 

ili Z U ^even male, tour female characters. Costumes, mod- 

JV. ^. . , em ; scenery, two interiors. This very amusing piece 
^y was another success in tlie New York and Boston theatres, and has been ex- 
Mr tensively played from manuscript by amateurs, for whom it is in every respect 
\W su'ted. It provides an unusual number of capital chnraeter Darts isvervfunnv 
W and an excellent acting piece. Plays two hours and a half. (1893.) 

SJy THE HOBBY HORSE. I ^ comedy in Three Acts. By Arthur JK 

V/ . I W. PiNKKO. Ten male, five female char- M/ 

%■/ *^ !„ .. :, ™. acters. Scenery, two interiors and an ex- Jk-^ 

yf. W°- ' «"**""]«'' "lo^le™; ,Tlus piece is best known in this country througl the W 

i:i> admirable performance of Mr. John Hare, who produced it in all the pr n cipiU }!^ 

Vf cit-es. Its story presents a clever satire of false philanthropy, and is fu ^Of M/ 

iii niterest and Inimor. ^Yell adapted for amateurs, by whom it has been success- }V. 

W f"'ly acted. Plays two hours and a half. (1892.) success ^|v 

}/m lady bountiful. I ^ P'^^y in. Four Acts. By Art.tpr W. ^' 

V' I PiNEKO. Eight male and seven female char- Ikl 

t:i> int^ri^rc „^f^o<.„ i^i„„„* l^.^:**''"^- CosUunes, modern ; scenery, four V 



t^k'A • » ■ .. . . acters. Costumes, modern: scenerv four 

Vff l"*'''"^? • "?* ^''^V- '^Z '^y «^ powerful sympathetic interest, a little sombre "n 
yj. key, bat not uureheved by humoroua touches. (1892.) '»'. '^ '"-"e somure in 



m 






yi Symphony in Black 



A Comedy in Two Acts 



FOR FEMALE CHARACTERS ONLY 
By Barbara Burbank .j^vtu^:, 



BOSTON 

WALTER H. BAKER & CO 
1901 






,Ji' . &}imp/iojti^,^ Jn £jAck 



CHARACTERS 

Aunt Martha, /c;;- reasons of her ozvn disguised as Dinah. 
Polly Bliss, her niece. 
Pauline Bliss, another niece. 
Angelina Mason, her friend. 

Mrs. Julia Bliss, Pauline'' s stepmother, 7vho goes a step far 
ther and impersonates the fiew cook. 

Costu mes m odern. 
t"he~u'.bkaf, y .:> I 

CONGRESS, 
Two Cofits Received 

A'JG, 2 1901 

Copyright entry 
COPY B^ 

Copyright, 1901, by Walter H. Baker & Co. 




COSTUMES 

ACT I. — Pauline and Angle in shiitwaist traveling costume. Polly in 
simple frock. Cook wears wig and big bonnet, outlandish 
garments. Aunt Martha is dressed as housemaid, save for 
bright bandana on head. White gloves. 

ACT II. — Pauline, Angle and Polly in dainty muslins. Cook in same or 
other ridiculous garb. Aunt Martha same as Act I. 



A Symphony In Black. 



ACT I. 



SCENE. — A pretty interior. Doors r. and c. Mantel and 
i?iirror over it at l. Conch R. c. ; tah/e R. ; table and chair 
L. ; piano up L. Aunt Martha, blacked up as Dinah 
stands before mirror putting on finishing touches. 

Aunt Martha (^r, as she must be called, Dinah). With 
just a trifle more burnt cork on the chin, Aunt Martha makes a 
pretty good Dinah ! If Pauline turns out as sweet as my 
brother's daughter should, I'll have to make up to her for this 
deception. {Turns from mirror.') But I draw the line at 
blacking my hands. Until I am myself again I shall wear 
these gloves. {Draws gloves on slowly during remainder of 
soliloquy:) It's a ticklish thing — this adopting a grown up 
girl ; and I had to take this chance of watching her. I am 
glad I told her to bring her friend Angelina. She will feel 
more at ease, though of course she and Polly will be chums. 
I only hope Polly won't scream when she recognizes me. 
{Takes note from pocket.) I must not forget to leave this for 
Miss Polly Bliss. {Puts note on table.) Wonder if I shall re- 
member to talk darky. Lucky I engaged a new Irish cook ; a 
black one would have guessed me in a moment. Well, well, 
if this is not a lark for a staid old maid ! At least I shall find 
out how Miss Pauline bears responsibility, and then if she and 
her stepmother are not friends I can help them out. Hark ! 
There they come ! I cannot face them just yet. I'll run. 

\_Exit R. 

Enter Pauline, c. d., followed by Angelina. 

Pauline. Not a soul to welcome us! Three days more to 
tremble at meeting the Griffin. 

Angelina. Perhaps she is not so terrible. 



4 A SYMPHONY IN BLACK 

Paul. Well, it's the " devil or the deep sea" with me. A 
brand new stepmother or an old maid aunt. 

Angie {sitting on piano stool while Paul, roams about'). 
For the hundredth time I want to tell you, you'll adore your step- 
mother. All the girls at Mackinac had a crush on her last 
summer. 

Paul. 'Twould have made a difference if she had wanted 
to marry their fathers. Let's forget her. Aren't these grounds 
beautiful, and isn't this a fine old house ? You know father 
was born here. I should like to live here myself if Aunt 
Martha was jolly. 

Angie. Maybe she is. 

Paul. Father says she used to be. I imagine a disappoint- 
ment in love has made her a sour, stiff, proper old maid. 
Haven't seen her since I was a baby. 

Angie. It was thoughtful of her to invite me and to give you 
full charge of the house. ^Ve can have a lovely visit together. 

Paul, {hugging Angie). Whatever should I do without 
you — my star of hope? You get me out of every scrape. 
You'll have to keep watch of me to see that I don't horrify the 
Griffin with a fit of the giggles — or by climbing trees — or, 
worse yet, by flirting with the young men. 

Angie. Or old ones. (Paul, goes to mirror.) There 
aren't many of either kind near, I fancy. 

Paul, {at table). Hello ! Here's a note for Polly Bliss. 
Now how did she know my nickname was Polly? 

Angie. Don't stop to speculate. Read. 

Paul, {standing c. ; reads aloud). "Dear Polly: You re- 
member the cousin you will meet here is two years older than 
you." Aunt Martha's twisted us ; Mary is younger — " and I 
wish her to have charge of the house and servants " 

Angie. That's what she told you. 

Paul. Don't interrupt. — "Nothing proves a girl like re- 
sponsibility. I wish to observe her unknown to her." Poor 
Mary! wouldn't that make you angry, Angie? — "and as a 
new Irish cook is coming to-night, it will be easy. Dinah will 
take a vacation. If all goes well, and your cousin pleases me, 
I shall offer to take charge of her future ; otherwise I shall 
send her to Europe with a chaperon." Well, Cousin Mary 
appears to be in for a fine trip if slie only behaves bad enough. 

Angie. Read on. 

Paul, {reads). "If she and her stepmother do not agree." 
I didn't know uncle was married twice. 



A SVMl'HOXV IN ni.ACK. 



Angie {ririiiiin^ to her, laughing ; looks over her shoulder'). 
Pauline ! Pauline ! what a joke ! It is all about you ! 

Paul. But it's addressed Polly Bliss ! Bv Joxe, Angie, 
you are right. She calls Cousin Mary Polly. VVhat shall I do ? 

Angie. Give it here. PU put it back quick. You couldn't 
help reading it, and now you must profit by it to be extra nice. 
{Puts note ou table ; sits by table.) 

Paul. Nice ! I think not. I want to be sent to Europe. 
(Laughs.) What a joke on the Griffin ! (Sobers.) Angie, 
think of being spied on like a criminal. It's shameful. Catch 
me being nice ! Why, I'll invent new ways of being ugly. 

Angie. At any rate, we can get heaps of fun out of it. 
What did she mean by the new Irish cook making her plan 
easy? 

Paul, {eross/u!^ quickly to Angie, says in sepulchral tones). 
Angelina, she's going to be the Irish cook herself. 

Angie. I believe you. 

Paul. Won't I make life weary for the Irish cook ? 
There's only one person I'll trust and that is Dinah, the black 
maid. She was a pickaninny here when fother was a boy. 
I'll spare her. 

Angie. I think I'd be good, Polly. It would be lovely to 
spend summers in this dear place. Oli, Polly ! 

Paul. Don't call me Polly or they will guess I saw the real 
Polly's note. 

Angie. How I wish Julia were here. This is just the prank 
that would suit her. 

Paul. Who is Julia ? 

Angie. Stupid ! Your stepmother. AVish she'd drop in ; 
we'd have a fine time. 

Paul. You may sit there and sing her praises while I hunt 
up Dinah. 

(Dinah appears in doorwav.) 

Dinah. Howdy, Miss Pauline. 

Paul, {meeting her c. and takiw-; both hands). How are 
you, Dinah ? I've been wanting for years to see you. Father 
has told me so much about you. 

Dinah {curtseying). I'se berry well, INIiss Pauline. I 
moughty glaid yo' paw 'membah Dinah. He were a lil' debbil 
hisscf. I done 'membah how he painted Dinah white so's she 
be like him and Alf. Miss Polly's paw, an' Miss Marfa 

Paul, {sitting on couch; Dinah standing at right etui of 



6 A SYMPHONY IN BLACK 

coucli). Tell me about Aunt Martha. Is she a regular 
Griffin? 

Dinah {starts; stiffly). Griffin! {Aside.) Here's a 
chance to speak a good word for myself. {Aloud.') Griffin? 
Yo' say Griffin ? I fought at fust yo' meant callin' names, but 
I reckon 'tis some kin' of angel, and dat's Miss Marfa she' ! 
{Chuckles and smooths gozvn complacently.) 

Angie. Fancy an old maid angel ! 

Dinah. Ain't nebbah heerd o' married angels, has yo' ? 
Reckon you all ah Miss Angelina. Dey do say you inwents 
all de mischiefness dat Miss Pauline carry on. 

Paul. Then they say wrong. She's my good counsellor. 
Dinah, did you know my father had married again ? 

Dinah. Yes, um. Does yo' like yo' ole stepmaw? 

Angie {indignant). Julia old ! {Laughing.) Why, Dinah, 
she is only six years older than Pauline herself. And the dear- 
est girl in the world, Mrs. Julia is. 

Paul. And if I had known the Griffin was offering her 
house out of charity, Pd have taken Miss Angelina straight 
home to my mamma — Julia 

Dinah [innocently). I specs ef yo' write de Griffin dat 
she'll drop her business an' come home. 

Paul, {j'oifis Angie /// laugh at " Griffin''; then sobers). 
You mustn't say Griffin, Dinah. It is a pet name of my own. 
Tell me, is Aunt Martha very cross? 

Dinah. I know'd Miss Marfa sence she were a baby, an' 
she ain't nebbah said one cross word at me. {Aside.) And 
that's the truth. {Aloud.) Miss Polly 

Paul, (beaming). Well? 

Dinah. I desgwinesaydat Miss Polly '11 be hyah befo' long. 

Paul. Who? 

Angie [hastily). Oh, your cousin, Polly. Yes, there's a 
note here for her. 

Enter Polly breathless ; Dinah stands extreme right front, 
back to Polly. 

Polly. Dear cousin ! {Hugs Paul.) I've been dying to 
see you ! 

Paul, (kissing her). I'd scarcely know you, Polly dear. 
This is my friend, Angelina Mason. Angie, this is Polly. 

POLLv {shakin<( hands with Angie 7uho meets her l. c.). 
So nice you could come with Pauline. {Turns to Dinah wJio 
faces her.) Aunt Martha ! 



A SVMl'HOXV IN 1;LACK 7 

Dinah {Jiurriedly). Yes, Miss Polly, yo' Aunt Marfa done 
gone on errand fo' few days. She lef a note — {crosses to L.) 
hyah 'tis. 

(Polly reads a/id giggles while Angii! and Paul, talk aside 
at extreme right front.') 

Paul, {aside to Angie). Just see her grasp the joke on me ! 
Polly. What fun ! 
Paul, {stiffly). Indeed ! 
Angie. {poking Vk\5\?). What's the fun ? 
Polly. Something lovely Aunt Martha is going to do, if 
we are on our best behavior. 

(Dinah dusts about piano.) 

Paul, {aside to Angie). Something better if we're bad. 

Angie. Do tell us, so we shall know if it is worth trying 
for. 

Polly {joyfully'). It is ! It is ! May be it will be for 
Angie, too, if we are good enough. 

Paul. Bad enough, you mean. 

Polly {^puzzled). Bad? 

Angie {shaking Paul). Don't mind her, Polly. She 
twists things so. 

Polly. Auntie leaves the house and servants in your 
charge, Pauline. There's a new Irish cook coming. Hope 
you can manage her. 

Paul. At least she shall not manage me. ( With sudden 
delight.) Hurrah ! I shall discharge her ! 

Polly {amazed). Oh, but — auntie wouldn't like 

Paul. I don't care what the Griffin would like. 

Polly {looking from Dinah to Paul, and back). You 
mean the cook, of course. 

Paul, {lightly). No, indeed. I meant Aunt Martha. 

Polly {horrified). Be careful — do be careful. {Turns to 
Dinah.) Aunt 

Dinah {interrupts). Yes, honey. What yo' \vant wif 
Aunt Dinah ? 

Polly {nervously). Nothing — nothing! {Goes up and 
takes hold of Dinah ; coaxingly.) Don't you think, Auntie — 
Dinah — you'd better go down-stairs ? 

Paul. No, I want her here. I came principally to see 
Dinah. 



8 A SYMPHONY IN BLACK 

Polly. All right — all right. {^Approaches Paul., and in 
low voice.) Won't you be a little guarded in what you say 
about dear Aunt Martha ? 

(Dinah doubled 7ip by piano.) 

Paul, {quite loud). No. She's not ;;/j dear aunt. I dare 
say Dinah has lived with her long- enough to have as many 
grievances as I have. 

Dinah (aside). Whatever have I done to the child? 

Polly. Grievances ! Why, auntie would do anything for 
you. 

Paul, {^mischievously). Would she take me to Europe? 

Polly {retreating to table and looking at ?iote ; laughs). 
She may see that you go. 

Paul, {haughtily). She shall not have the chance. [Stalks 
rear R., where Angie has wandered ; aside to Angie.) I 
shall cry, or scratch some one's eyes out, or roar in a moment. 
See that child mocking me ! 

Polly {aside to Dinah). This is awful, auntie. Do 
leave the room. 

Dinah {aside). Don't worry, Polly; I'm enjoying it. 
Though I almost wish I had not deceived her. 

Angie. Just wait till you girls know Pauline's stepmother. 

You'll forget Europe. If only she (Julia, as the new 

Cook, in ridiculuous costume, appears in doorway.) 

Angie {jvith motion towards her, shrieks). Julia ! 
(Cook motions her back and stands innocently by time others 
look around.) 

Paul. How you shrieked, Angie. I thought Julia must be 
coming. 

Cook {looking l. to Polly). Ez zis Mees Marta Bleess? 

Polly. Miss Martha is away. Miss Pauline is in charge. 

Cook {approaching Dinah). Spik I to Mees Pauline? 

Dinah. No-m — I'm des Dinah, de maid. 

(Angie has gone forivard and is seated on couch ; Cook slips 
up close.) 

Cook. Iss it dat you are Mees Pauline ? (AyiciE jumps ; 
Cook adds in aside). Angie, don't you dare betray me ! 

Paul, {comes smiling from r.). I am Miss Pauline. What 
do you wish ? 

Cook {bozoing). I weesh I cook here. 



A SYMPHONY IN BLACK 9 

Paul, (^freezing). The cook? I thought you meant to be 
Irish ? 

(Angie buries face in hatidkerchief.^ 

Cook. Oui — yes. I met de Irish lady at de depot. She 
seek. She can't not come — no. I cook so beau — so beauti- 
ful, and I charge not but more ten doUair for ma accent. 

Paul. And I shall charge you a dollar every time you speak 
to me or appear in my sight unnecessarily. (^Crosses to l. and 
stands by table, back to all. ) 

Cook (bowing). So sweet a ladie ! {Aside over Angie's 
head.) She never got that mean streak from her father. 

Angie (aside to Cook). A mistake. I'll explain. 

Dinah (l. back to Polly). There's some vice versa here ! 
The question is — is that Pauline at all? And why treat the new 
cook so rudely ? 

Vx\]L. (whirling aboi/t). Still here ? Dinah, take the cook 
to the kitchen and keep her there. (All stare.) Do you hear 
me? (Stamj>s.) Go! (Exeunt Cook and Dinah hastily. 
Laughs.) It is really enjoyable. 

Angie (making warning sign). Being in charge, you 
mean. Do sit down and rest a moment. 

(Paul, sits by table ; Polly sinks at her feet.) 

Polly. Don't be angry with me, Pauline, if I ask you to be 
cautious. You don't want auntie to be disappointed in you. 

Paul, (patting her head affectionately). Dear little coz, I 
shall be so cautious that I shall not miss a single chance to ful- 
fil Aunt Griffin's (Polly starts and looks about frightened) 
expectations. My dear girls, I see my trunk fairly covered 
with European labels. 

Polly. But you know, dear, the servants might not like 
your rather — rather severe 

Paul, (disappointed). Only severe? 

Angie. It wouldn't be a lie to call it abominable abuse of 
authority. 

Paul. Whew ! Where did you learn that ? Is that what 
you told the principal when she wouldn't let you go on the 
river with your best young man ? Come, Angie, don't you go 
back on me. 

Angie. I won't, ever; but do treat the cook better or she'll 
hate you. 



lO A SYMPHONY IN BLACK 

Paul, {surprised ). And isn't that just what I want ? Ah ! 
you are all against me. 

Polly. Not a bit, dear. Let's talk about Europe. Are 
you really anxious to go ? 

Ypmx.. {jvearily). Kalamazoo will do as well now. (Cook, 
unseen by girls, stands in dooj'way, c. ) Between the horrors 
of an unknown old maid aunt and an unknown wily stepmother 
— an artful creature 

Cook. Will Mees Pauline {all start') gif me de ear?. 

Paul. This may cost you a dollar, cook. By the way, 
what is your name ? 

Cook. Julia-ette — Juliette, ma dear. 

Paul. Too dear to you if you indulge in familiarity. I 
am only " dear " to a few. 

Cook {aside). Precious few, I fanc)^ {Aloud.) Eef I de 
beef may haf for dinner in spite of de lamb ? 

Paul. Very well. 

Cook. Oui — yes — very well — very well done, an' if at 
de baker's, Dinah de rolls could brought ? 

Paul, {intense sarcasm'). Perhaps you'd like the whole din- 
ner ordered from the caterer's ? 

Cook. Eef madamoiselle please. 

(Angie convulsed ; Voxam puzzled.') 

Paul, {rises ; tualks with determination L. rear'). Go to 

the kitchen. Make biscuit, pies, and 

.Cook. Biscuit? Oui — yes — fine biscuit. Pie? Non — 
Non. 'Tis not a la France dat one eat pie. 

Paul. Nevertheless, we'll have pie to-night, or you go to- 
morrow. Next time you have questions to ask, send Dinah to 
ask them. {Goes to door r.) Come, Polly, show me my 
room. Come, Angie. 

Angie. In a moment. [^Exeunt Polly and Pauline. 

{As door closes Angie and Cook fly to each other. Sit side 
by side on couch.) 

Cook. So that is my angelic stepdaughter. 

Angie {laughs). Isn't she? But, Julia, what possessed you 
to do this? 

Cook. My husband had to be away a week, so I resolved 
to come visit Miss Martha and my sweet new daughter. At 
the station I met and conversed with the Irish cook. Sent 



A SYMPHONY IN l;r,ACK II 

her into the country to board a few days, borrowed some of 
her clothes, and here I am. 

Angie (anxionsly). Can you cook ? 

Cook {indifferently). I don't know. You see I've been 
in cooking school, but we studied alphabetically, and I only 
went as far as e — eggs — so pies, rolls, and lamb are not on my 
menu. 

Angie. You'll starve us, you dear wretch. 

Cook. I should love to keep that gentle stepdaughter on 
crust and water for a week. 

Angie. You are wrong about her. She thinks 

Cook (^jumpino up). Hush ! {^Enter Paul, and Polly.) 
Zen you half seen before me, mees. An' you remember my 
capers ? 

Paul, {suspiciously). What capers? 

Angie {soothiw^ly). Caper sauce. She's famous for capers 
— sauce. 

Cook. Mees Pauline, eef a bookery cook you me cood 
lent, I cook better English. 

Paul. I prefer better French. Go now and send Dinah 
here. 

Dinah enters ; Cook backs out shaking finger at Angie. 

Dinah. Hyah I is, Miss Pauline. I'se in a heap o' trouble 
too. I'se done bruk Miss Marfa's best cut glaiss dish. She'll 
feel pow'ful baid, sho'. 

Paul. Don't fret, Dinah. The Griffin (Polly gasps; 
Dinah chuckles) shall never know it. I'll get another with ray 
month's allowance. Let me see it. (Goes toY)\i<iAYi.) Keep 
that piece so I can match it.. Why, Dinah, it's no wonder you 
broke it. Why are you working with gloves on ? 

Dinah (sheepishly). I heerd Miss Marfa say dat Jim's 
ilotter — dat you, Miss Pauline — gotter be han'led wif gloves. 
{Girls laugh.) 

Paul. Pity she didn't follow her own advice. You may 
take off the gloves, Dinah.. 

Dinah [moving h. to7oards '^Ohh\ ; aside). Now for a ftiiry 
tale. {Aloud.) De troof is. Miss Pauline, I'se gittin' so old 
dat de linin' ov ma ban's rubs off an' spots de furncher 
blaick ! 

Angie {aside to Paul.). That's two good reasons. ]\Iake 
her give another. 



12 A SYMPHONY IN BLACK 

Paul, (^sweetly). I shall not mind that, Dinah ; so take 
them off and be comfortable. 

Dinah. Now, honey, you all is powerful good, but yo' see 
Fse done wore dem so long ah reckon ah tek cole effah tek 
dem off. 

Angie. . Three ! She's a record breaker. 

Dinah. What you say. Miss Angie? 

Angie. I said there was reason in all things. 

Dinah {gravely). Yo' des right. Mo' reasons than folks 
kin tell. 

(Cook's voice heard coming : " Oh oo ! Oh oo ! Oh oo f^) 

Cook [enters ; says in perfect English^. I put the fish in 

the pan {Begins in dialect.) I poot ze fish in ze pan an' 

he commence kick ! Somebody mus' safe hees life ! 

Paul, {to Angie). You see, Angie. Great cook she is ! 
(Dinah goes to door.) Stay here, Dinah ; Juliette, go put the 
poor fish out of its misery. 

Cook. Nevair ! Ze misere kill Juliette. 

(Dinah goes hack to Polly.) 

Dinah {aside to Polly). That French cook's an impostor 
— a thief may be. {Aloud.) Dat fish is not alive. Miss 
Pauline. Dey does dat sometimes, des 'cause of de heat er 
somefin. 

Paul, {aside to Angie ; r. front). You see our fine cook 
betrays herself. Griffin ! 

Cook (c. back). If I ever get out of this, PU masquerade 
no more ! 



CURTAIN. 



ACT II. 

SCENE. — A dining-room. Door l., and c, the latter 
screened by portieres. Sideboard's..; screen i/p y^.. ; dining- 
table and four chairs c. ; other furniture ad libitum. Aunt 
Martha, as Dinah, seated in chair front of table c. ; Polly 
stands beside her zvith arm about her shoulders. 

Polly. But, auntie, she is very sweet to you — to Dinah, 
you know. 

Dinah. That is what I cannot understand. Does she sus- 
pect who I am ? Or is it because she has really heard her fa- 
ther talk of me — of Dinah, I mean — and thinks the Griffin — 
ha ! ha ! my Polly, the Griffin ! — abuses me — Dinah, that is. 

Polly {dejected). She's a puzzle to me. She's begun to 
be cross to Angle, and I notice poor Angle doesn't know what 
to make of it. Say, auntie, who is the Irish cook who turns 
out French ? 

Dinah. Do you know, I half suspect that she is the real 
Pauline, and that this other girl is a schoolmate. 

Polly [hands to head). Oh ! Oh ! If Dinah is not 
Dinah, and she is my auntie — if Cousin Pauline is not Cousin 
Pauline, and the French cook is — then am I Angle, or is Angle 
Uncle Jim ? 

Dinah {laughing). Let us laugh about it while we can, for 
if that French cook, who is neither French nor cook, lingers 
much longer, you'll die of indigestion. When I serve her 
concoctions I want to say, " Polly want a cracker? " 

Polly. And Polly always does ; you may be sure. 
{^Kisses Dinah.) Auntie, you have taken enough trouble to 
deserve a very fine niece. I do hope she will turn out all 
right. 

Dinah {going to sideboard ; polishes silver). If she re- 
mains so freakish, you shall have her share and your own too. 

Polly {sitting at r. end of table). But I'd rather share 
with both you and Pauline. 

Dinah {busily polishing). Sh ! sh ! 

^3 



14 A SYMPHONY IN I'.LACK 

Entej- Paul, handkerchief to eyes. She is foUo7ved by Angie. 

Paul, {angrily weeping ; stands rear of table). You 
are, you know you are. I saw you plotting with the 
French cook this morning. 

Angie. You are mistaken, Polly — Pauline. {Sees Polly's 
face and wants to warn Paul.) Hello? Polly, what have 
you been up to ? 

Polly }^^^^^'^^^'^>- Nothing! 

Paul, [drops handkerchief from eyes'). I didn't know you 
were here, Polly. {Moves. R. to Polly.) Have you been 
blacking the stove ? 

(Dinah glances at Polly, whose face is streaked with 
Dinah's make-up, turns to sideboard, shoulders heaving 
with laughter.) 

Polly {innocently). No, I have been whispering secrets to 
auntie. 

Paul. Auntie ? 

Dinah. Aunt Dinah, she means, Miss Pauline, honey, why 
for Miss Angie call you Polly ? 

Paul, {inaking provoked signs at Angie). They call me 
that at school. 

Dinah {^nods satisfied ; turns r. ; aside). Call her Polly, 
do they? Now I wonder if she saw my note to Polly. 

Angie {extreme l. front; aside). Black rubs off Aunt 
Dinah, does it ? Aha ! I begin to see that black may yet be 
proved white. 

Paul, {sits rear of table ; pathetically). Vm so hungry, 
Dinah ! Can't you cook something? I haven't had anything 
since I came but crackers and pickles. Pd discharge that 
Franco-Irish lady from America, if it wouldn't put too quick 
an end to the comedy. 

Polly ^if^S^^^^^^)- Comedy! 

Angie {explanatory haste). Tragedy ! tragedy ! Pauline. 
A tri-daily tragedy of burned beef, burned biscuits, and 
burned eggs. The cook told me she had studied cooking as 
far as the e's. 

Polly. Well, she's brought no ease to us. • 

(Dinah //^/j- her shoulder while girls groan.) 



A SYMPHONY IN F.LACK 1 5 

Angie. I guess thnt's why she stays at burning. It's in the 
b's. 

Paul, (crossly). If that's a joke, it's flat. 

Polly. Like the biscuit. 

Paul. Polly, you are reflecting on your hostess' table. And 
as I am the hostess, I object. 

Polly {rebellions'). It is Aunt Martha's house. 

Paul. So it is and so it may remain ; and Aunt Martha 
may reign here alone, so far as I am concerned. Now whoever 
would think of a Griffin Aunt (Polly raises protesting hand) 
— a Griffin Aunt, Polly — who would invite a poor motherless 
girl to spend her precious vacation in being reduced to a 
shadow by a diet of pickles and crackers. I'm going home 
to-night (Cook appears in rear doorway ; seen by Angie 
only) to my stepmother. She can't be worse than the 
French cook. 

Cook. Ees it de modder you would like to step on, mees ? 
I can gif goot recommends eef you me vish ! 

Paul, (without turning). I wish you were my stepmother. 
I would spend my days devising torments for you. 

Angie (up stage l.). Juliette, I certainly shall tell 

Cook (rutts l.; falls on knees). Oh, don't not — don't not 
tell at her. I vill return it back. 

Dinah (aside to Polly). As I told you, they have an un- 
derstanding. 

Angie. Please, Julia. 

Cook. Ah ! Ah ! you will me confess ? Bon ! well ! I 
betray you. (Rises; facing Paul.) Miss Pauline, I am it 

vat took dee precious treasure (Seizes h.^G\^\ aside to 

her.) If you tell now, I'll never forgive 

Paul. What's this? Have you been stealing? 

Cook. It vas only von heart — von heart. 

Paul. Give it to me. 

Cook (sadly). I don't cannot. I vould question you let 
me keep it. 

Dinah. Who all's heart yo' tuk, Julyeete? 

Cook. Von man's — I no rob lady. I stole de treasure of 
von Mistair Bleess. 

Paul, (brings both fists smartly doivn on table). My father ! 

Cook. You fLider ? Den heaftns help him. I forgifs him 
dat he sen' me vay. 

Paul. So. My father discharged you. Or couldn't you 
get on with my stepmother, which ? 



1 6 A SYMPHONY IN BLACK 

QOOY. {iwiiiUng violently ; pleased'). Dat vas it. Vich ? I 
don't guess not ! 

Paul, (despairing). Leave the room. Go cook something 
you cannot burn. Steal the silver or the house — they are your 
own any way — but give me food. Oh ! for some unburned cold 
boiled potatoes ! Go, Juliette ! {Exit Cook, Angie folloiti- 
ing.) Stay where you are, Angie. I won't have the whole 
house conspiring to starve and try me. Sit down. (Angie 
drops in chair L. end of table and fidgets.) Sit still ! 

Polly (rises ; goes around to pet Paul.). You are tired, 
dear 

Paul. I am starved. Go away, Polly, don't touch me. I 
can't bear you. (^Hides face in handkerchief. Dinah starts 
indignantly. Polly goes to Angie.) 

Polly. Pauline ! how unkind. 

Paul, (^from depths of hand/cerchief). I hope it was ; I 
meant it to be. Excuse me, Polly, but I can't have any half 
measure about this. I am working for Europe. 

Dinah (aside). Now what can she mean ? I shall have to 
interview the French lady. {Aloud.) Miss Pauline, ef yo' 
wants cole boiled taters, Pll git um. I knows whar some is. 

Paul, {kindly). Please do, Dinah. 

(Dinah passes behind Paul. ; pats head. Paul, takes her 
hand, drazvs it dozun, glances at pabn where glove opens.) 

Paul. Well, I should think the color did rub off. Your 
hand in that spot is as white as mine. 

(Angie nods and clasps her hands silently.) 

Dinah. Sho', chile! ain' dat funny? I spec de Griffin '11 
be watchin' out to see ef I spile her linen. 

Paul, (holding Dinah's hand). Polly, let me look at you ! 
(Polly shows scared and blackened face.) Black rubs off 
your face, too, Dinah ; you'd better see a surgeon. 

Dinah. Yes, Miss Pauline, I see him in a minute. Yo' 
want him cole or briled ? 

Paul. Surgeon, cold or broiled? 

Dinah. Yes, um. Some hangin' in de pantry now. Miss 
Marfa she berry fond o' hini. 

Polly {laughing). Sturgeon, Pauline — she means sturgeon ! 

Paul, {coldly). When I require you to interpret, Pll ask 
you, Polly. (Dinah jerks hand away. ) Go, Dinah, get me 



A SYMPHONY IN liLACK. I 7 

anything — anything to eat. {^Exit Dinah.) Angie, don't sit 
there like a wax doll with your eyes staring out of your head. 
{Claps hands sharp/y.) Don't look so meek, either. . 

Angie. I never thought you'd go back on me. 

Paul. Your thoughts are too limited. Do you suppose I 
shall sit calmly by and let you and the French cook go 
through such melodramatic performances? You and Aunt 
Martha are a great pair. 

Polly. Aunt Martha? 

Paul. I forgot you, Polly. You'd better go see if the 
eclipse has passed off. 

Polly. Eclipse ! 

Paul, {miinicki/ii^). Aunt Martha ! Eclipse ! Yes, Miss 
Echo. Don't you think the atmosphere has been darkened, 
and don't you think it is growing lighter? 

Angie. Do go, Polly, and PU have a talk with Pauline. 

Paul, (rising; going about r. end of table). No, you 
won't; you'll go too. Leave me alone, all of you. I don't 
want to see one of you again till Pve passed this starving hun- 
ger. I believe you are fed on the sly. Go ! (Exeunt girls. 
Paul, looks all about ; finds herself aloire ; sits in chair 
in front of table ; laughs ; takes sandioich from bag hung on 
her arm.^ My ! My ! If I haven't behaved bad enough to 
get Europe and Asia with Boer land thrown in ! (Bites sand- 
wich.') This is the best sandwich I ever tasted. (Bites again.') 
Dear, dear, I hated to jump on Angie, but she was growing too 
anxious to smooth things between me and that dear French 
Juliette, alias Aunt Martha, alias Griffin. Ha ! Ha ! how 
Angie hates to have them think me so ugly. '(Eats.) I never 
heard of a darky turning white. (Eats.) I wonder if Dinah 
is a hoax. No, she can't be — she remembers all the pranks 
she played with father. She's a dear, and doesn't my temper 
worry her. (Sighs.) None of them can be more tired of it than 
I am. My throat aches with scolding, and I cannot keep my 
face straight before that dear scared little Polly. 

(Laughs ; stops short, hearing some one enter. Thrusts re- 
mainder of saiuhvich into bag.) 

Dinah (enters). Hyah yo' cole boiled taters. An' hyah 
a note fo' some one. Ah cain't read. 

Paul, (ecstatic). Ah ! those delicious potatoes ! (Seizes 
plate, puts it on table.) Pm fainting for one. And a note. 



l8 A SYMPHONY IN F.LACK 

{Reads.) "Miss Polly Bliss." It's for me. {Cuts it open 
with hairpin.') 

Dinah. Miss Polly Bliss ? Dat yo' cousin ? 

Paul, {startled; looks again). No, it happens to be mine ; 
I know the writing. {Aside.) Glad she can't read. May be 
she can, though. I'll try her. {Aloud ; taking envelope from 
belt.) Say, Dinah, I have forgotten Aunt Martha's present ad- 
dress. Will that reach her? 

Dinah {reads). Miss Marfa Bliss, Chicago 

Paul. Thought you could not read ? 

Dinah (embarrassed). Did yo',' Miss Pauline — did yo', 
she' ! {Aside.) The father of lies must help me now. 
(Aloud.) Really? Now ain' dat funny? 'Case ah can't 
read. I des know how de writin' ought a look fo' Miss 
Marfa' s name — I done seen it so often. 

Paul, (rising). Dinah, take off those gloves. 

Dinah (jnaking for door). Ah 'clar, dat cook '11 spile de 
dinner, ef I ain' help her. 

Paul. Comeback. (Dwah comes reluctantly.) Takeoff 
those gloves. 

Dinah (beseechingly). Now don't mek me, honey. I fear 
de miracle yo' would see 'd fright yo'. Miss Pauline. 

Paul, {unmoved). Take them off. 

(Silence while Dinah recklessly tears them off and holds out 
hands. Paul, takes them gently.) 

Paul. So ! {Softly.) Have I been good to 3'ou, Dinah ? 

Dinah. Berry good — des ef ah wuz white lady. 

Paul. Would 'you like to be near me always, Dinah? 

Dinah. Yes, um. Ef yo' wuz ez good to ebery one else. 
I cain't abide to see yo' goin' fo' little Polly. 

Paul. But personally you have no fault to find ? 

Dinah (surprised). No-m 

Paul, (flinging hands from her). Then I'm exceedingly 
sorry. ( Wrathfully.) I wish I had been uglier than sin. If 
I had it to do over, I should make life a burden to you. I 
don't know who you are, and I don't care. If I had known 
what hands were in those gloves. — (Dinah puts them behind 
her.) Oh, you needn't hide them now. I'd have known 3'OU 
were one of the schemers with the Griffin. Oh, how I detest 
):ou all ! \_Exit in a rush l. 

Dinah (regarding hands). You are a fine Dinah, Martha 
Bliss; but your hands should have been dipped, like Achilles' 



A SYMPHONY IN BLACK I9 

heel — the one weak spot. Hark ! somebody's coming ! Now 
for one step lower. I am going to eavesdrop. (^Hides be- 
hind screen.) 

Enter Angie, arms about Cook 7iiJw has removed wig. 

Cook. Traitor ! why I have a dinner ready that would 
make her smash the whole dinner service. I want to see the 
limit of the vixen's temper. 

Angie. Oh, dear. Pauline will be furious, but I must tell. 
She isn't really Hke that, Julia. She's the sweetest 

Cook. Angie, I would not believe it if angels swore it. 
You could as easily make me believe black is white 

Angie (^laughing). I may do that yet. 

Cook. Even my vile cooking is no excuse 

Angie. But she thinks you are her aunt ! 

Dinah (^peeping from behind screen). Oho ! maybe the 
black rubs off Pauline's temper as it does off my face. Both 
false. 

Cook. Aunt Fiddlesticks ! 

Angie. No, Aunt Martha. 

Cook. What nonsense ! Why should Sister Martha be a 
French cook in her own house ? 

Angie. Same reason you are — to find out what Pauline is 
like. She hasn't seen her since she was a baby. 

Cook. How do you know all this? Where is my dignified 
and awesome sister-in-law ? 

(Dinah steps forward ; screams arc hearfi.) 

Paul, (voice ; outside). Auntie ! Oh, auntie ! (Dinah 
rushes out. Cook and Angie follow to rear door, where 
they meet Dinah and Paul, helping Polly into the room. ) 
Poor httle girl ! {To Dinah.) Put her in that chair. (Angie 
draws out chair at L. end of table.) Angie, ring up the 
doctor. Dinah, get hot water. Auntie, bring wine, please. 
(Dinah goes to sideboard ; pours wine. Juliette rushes out 
L. door. Angie out c. door, as Polly moans.) There, 
there! {Moving her arm up and down.) Oh dear! Oh 
dear ! Her arm is broken. I hear it crack. How did }ou 
do it, dear ? 

Polly. It isn't my arm. It is my ankle. 

Paul, {drops on knees; unbuttons Polly's shoe). Puor 
little ankle ! What were you doing, Polly? 

Polly {handkerchief to eyes; moves it to xvatch Paul.). 



20 A SYMPHONY IN 13LACK 

I was walking on the veranda wondering why you were so 
cruel to me {chokes) 

Paul, {einbracins:; Jier). Ah ! I am so sorry, dear. I 
won't be again — not for a trip to the moon. 

Polly. and I walked off the far end and turned my 

ankle. 

(Dinah brings wine as Cook brings water and Angie 
enters c. d.) 

Angie. Doctor will be here in a moment. 

Paul, {to Cook standing l.). Aunt Martha, shall I put her 
to bed ? 

Polly. Aunt Martha ! 

Paul, {gently). Now don't begin to echo, Polly. 

Polly. But that is not Aunt Martha ! 

Cook. No, Pauline; I am not Aunt Martha. {With ac- 
cent.) I coot cook better French, an' English eef I vere Aunt 
Maria. 

Paul, {backing slowly to extreme R.). Then who are you? 

Dinah. Yes, who yo' is? 

Angie. It's Juha. 

Paul. Julia? 

Cook, {curtseying^. Your stepmother, artful and wily. 

Paul, {dazed). My stepmother ! 

Polly. Who is echoing now ? 

Paul, {lo Dinah who stands front c). Who are you? 

Dinah. Can't j^ou guess? 

Paul, {trying to back further atvay). I suppose you aie 
Aunt Martha, and I meant to be so mean to you ! {Bright- 
ens.) But I have been fearfully horrid, have I not? 

All {luith emphasis). You have. 

Paul. {eai:;erly). Then Aunt Griffin — Aunt Martha — you 
will want to be rid of me. 

Dinah. No, no, child ! I begin to see it was not your 
real self. 

Paul. (/;/ disgust). Then Fve had all this torment for 
nothing. {Excited.) You'd better keep your promise, Aunt 
Martha, or PU be unbearable in earnest. 

Dinah. My promise ! What promise? 

Paul. In your note to me — no, to Polly ; but I thought it 
was to me, and read it. Then when Polly dro]iped it, I 
picked it up to keep to show to you. See ! here it is — Listen. 
{Reads.) " I shall adopt her if she proves agreeable. If not, 



A SYMPHONY IN BLACK 21 

I shall send her to Europe with a chaperon." Now, you can't 
go back on that. 

Polly. Ha ! Ha ! What a joke ! AVhy Aunt Martha is 
going to take me abroad in the fall and if you and she ngreed 
you could go too. It would be loads more fun than going 
with a strange chaperon. 

Paul, {chagrined ). Of course. And now I have made 
you all enemies. Mamma, Juliette^I suppose you dread my 
coming home ? 

Cook. My courage is rising. Come along, daughter, and 
\\'hen the servants are trying, you can masquerade in your 
temper. 

Dinah. Pauline, I see the mistake was mine. Can you 
forgive me and travel with us to Europe? I'm a frivolous old 
maid who can never resist the chance of a frolic. Will you go 
with Polly and the Griffin ? 

(Polly and Paul, rush to embrace Dinah.) 

Paul. Oh, Polly ! your ankle. 

Polly {shamefaced ). Well, everybody else seemed to be 
playing make believes, so I tried it. My ankle's all right. I 
only wanted to see how you would act. 

Paul. (r. ^ Dinah ; Polly l.). I deserve it all. 

Angie (l. front with Cook). Now, Julia, will you believe 
my Pauline is a dear ? , 

Cook. Certainly — and gladly. I can believe anything 
since {laughing at Aunt M.) black is proved white. 



CURTAIN. 



The man or woman who doesn't 
read The I'.lack Cat misses the greatest 
stories in the world.— lioshm Post 



"The RIack Cat is without doubt 
the story-tellin« hit of the century."— 
6an Francisco Chronicle. 



It Will Pay You 



to read The Black Cat, not only because it 
publishes the most unusual and fascinating 
stories that genius can devise and money can 
buy, but 



Because 



it presents to j'oung and unknown writers an 
opportunity offered by no other publication. 
It pays the highest price in the world for 
short stories. It pays not according to the 
name or reputation of a writer, but according 
to the merit of a story. It pays not according 
to lengtli but according to strength. It pub- 
lishes no continued stories, no translations, no 
borrowings, no stealings. The great $5,000 
prize stories of Mystery, Adventure, Love, 
Detectives, Humor and Pathos will give added 
interest to future issues. The Black Cat is 
published monthly. It costs 50 cents a year 
and each number contains 5 complete, origi- 
nal, copyrighted stories ///«/ are stories. 
By special arr-angement with its publishers 
(The Shortstory Publishing Co.) we at'e able 
to make the following offer : 



Free of Us 



If you will send ns 50 cents The Black 
Cat will be mailed you as issued for 
one year, postage paid, and you will tilso 
receive at once, />■«-, postage paiil, ir> of 
the stoiies (including the Si ooo prize 
tales, " Tlie Gaikwar's Swoid," " 'I'lie 
Quarantined Bridegroom." "The 
Dancing Goddess," '"Tlie Train Hunt 
at Loldos," etc) that have made The 
Black Cat famous as the story-telling 
hit ot tlie age. 



Walter H. Baker & Co.. Hamilton Place. Boston. Mass. 




A NEW CUBAN PLAY. 



IN THE TRENCHES 

A Drama of the Cuban War in Three Acts. 

By ABEL 5EAMAN. 

Eight male, three female characters. Costumes modern and military, scenery n.j/ 
difficult. An exceptionally strong and well-constructed melodrama, full of powerful 
situations and humorous incidents, which has been successful in professional hands. 
Its story is full of interest, and is told by a well-selected and contrasted group of cliarac- 
ters, including Hebrew, Irish and Negro comedy roles. The second act is laid in the 
trenches before Santiago, and gives opportunity for military display if desired. Its 
action is very spirited, its climax strikingly heroic and its appeal to patriotic sentiment 
overwhelming. Strongly recommended. 

Price 15 Cents. 



SYNOPSIS. 

ACT I. — A strange will. War with Spain. The Colonel's history. Paul Davis' 
pride. The sealed packet. An honest man. A sad experience. A brave bargain. 
The dawn of love. Is he a coward.' Held in trust. Financial agent. A brother's 
wrong. The seat of war. For love or money. Nadina's sacrifice. Passion's penalty. 
A man's independence. Strange disclosures. Rejected by the rose. The march to the 
front Beggar'd in pocket and bankrupt in love. With flying colors. A heart of geld. 
The roll of the drum. Away to the war. Facing the foe. 

ACT II. — In the trenches. Why he 'listed. An Irishman's philosophy. For 
valor. Unconscious ol danger. The sergeant's hut. On the slopes of Santiago. The 
Colonel's prejudice. Risen from the ranks. A half-dead Spaniard. Letters from home. 
Strange news A cruel insult. The plot of ruin. Spies in the camp. A token of love. 
For himself alone. Nadina's truth. Under arms. Ringing the changes. Doomed to 
dislioiior. Cruel to be kind. Husband and wife. The envelope and the seal. Sent to 
the front. The Spanish colors. The forlorn hope. A soldier's death. Food for pow- 
der 

ACT III. ^ In Santiago. The two papers. A rogue's quarrel. A deserted wife. 
Green's luck. The sacred truth. A blameless life. Brought to the test. Mother and 
child. A man to love. For her sake. Nadina's sacrifice. Tlie love of the lion. The 
eagle spreads his wings. Testing the metal. Struck to the core. The spider's web. 
Joy does not kill. Forget and forgive. After many years. The stolen proof. Hoist 
with his own petard. Spanish treachery. Biting the dust. True to himself. Bowled 
out. 



Rubber Boots. 

A FARCE IN ONE ACT. 
By HANLEY H. PIKE. 

One male, three female characters. Scenery, an easy interior; costumes modem. 
This is a most ingeniously imagined and cleverly written little piece, admirably suited 
for amateur performance. Its theme is the encounter of three young ladies with a tramp, 
and it provides twenty minutes of d;lightfully humorous incident and dialogue. The 
trarap_ isa "dumb " character, his part being wholly in pantomime, but remaikably 
eSective. Very strongly recommended. 

Price Ifi Cents. 



NEW OPERETTAS FOR CHILDREN. 



EDITH'S DREAM. 

^n Operetta for CJiltircu. 

Words by MARGARET FEZANDIE and EDGAR MORETTE. 
Music fay EUGENE FEZANDIE, Jr. 



Kleven characters, girls and boys, or all girls, as preferred ; ten or more addi- 
tional for chorus. Scenery unnecessary; costumes, pretty and fanciful, but 
easily arranged at home. This admirable little piccie is printed complete with 
music. It is very tunef i\l and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is i>articularly well suited for the latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
however, an excellent moral. 



Price 



(Us 

As 

/JS 
«N 
/ft 
«IS 
/ft 
/ft 
/ft 
/ft 

\j/ 
SI/ 
«/ 

s»/ 
v»/ 

I 

M/ 

f 

w 

.V. A Glimpse of the Brownies. A 

%IJ Musical .Sketch for Children. Any 

?K number of boys. 

w 

TV. Market Day. An Operetta for Youner 
Vl/ People. Seven speaking parts and 

.y. ehorus. 

JSr Queen Flora's Day Dream. An 

vl# Operetta for Childreu, Six speak* 

^V. ing parts and chorus. 



35 cents. 



ODD OPERASMEVENTIDE. 

A Collection of Short and Simple Musical 
Entertainments for Children. 

By MRS. G. N. BORDMAN. 



This collection provides a simple operetta, a fairy opera, a picturesque motion 
song, a quaint musichl pantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful and simple, and is specially written 
with the tiistesand limitations of children in view. The solos are easi'lv learned 
and sung, and all the choruses are written for voices in unison. The collection 
is strongly recommended for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without trouble hy the equipment of the onlinary hall or church vestry, and the 
zeal of the most economical committee of arrangements. 



Price 



CONTENTS. 



50 cents. 



The Boating Party. A Musical 

Sketch for Little Children. Thirty 

boys and girls. 
Six Little Grandmas. A Musical 

Pantomime for very Little Childreu. 

Six very little girls. 

Jimmy Crow. A Recitation for a 
Little Girl. 

A House in the Moon. A Recita- 
tion tor a Child. 



^•5''5^'!5^'^-5^'5^-5'''5''fSk 



J The Plays of Henrik Ibsen. | 

iiv Edltei, with Critical and Biographical Introduction, ynj 
/]\) by EDMUND GOSSE. j^ 



/" ■LT/~\C*T'C I A Drama in Thrke Acts. Translated by WiLLiAir 
yj^*-^^^^<^* AucHEB. Three male, two female characters. 
' Price, 25 cents. 

P (^QlVrFTP ^"HOT TVr I -A Drama in Four Acts. Translated by M. 
lVV-/OJ.vii::,JXOi ivyi^vi. Carmicuael. Four male, two female charac- 
' ters. Price, 35 cents. 

THE LADY FROM THE SEA, I ^,,^f,iXib7c^;iC^: 

* Five male, three female 
characters. Price, 26 cents. 

AN ENEMY OF SOCIETY, | t^^^f"^^:^';,^^ 

' ' vo female charac 
Price, 25 cents 

TTj-p ■VY/TT Fi ■nTincT I A Drama in Five Acts. Translated by E. 
1 rm W Xl^LJ LJ\U\^J^k^ ^i AVEMNG. Twelve male, three female 
characters. Price, 25 cents. 



THE YOUNG MEN'S LEAGUE. I ^^^^ ^f^^^ 

I Carstarfhen. Twelve 

male, six female cliaracter.s. 



This series is offered to meet a growing demand for the plays of this well- 
abut-ed iMid hotly-discussed writer, whose influence over the contemporary drama 
is enormous even if his vogue in the American theatre be still regrettably 
small. These plays are intended for the reading public, but are recommended 
for the use of literary societies and reading clubs, and somewhat diffidently 
suggested to dramatic clubs, as providing unconventional but vigorously acta- ^iV 
ble material. As a dramatis* Ibsen is absolutely " actor-tight," and has written •"" 
more successful parts and inspired more " hits " than any of his more popular 
contemporaries. This edition is printed in large, clear type, well suited for the yiV 
use of reading clubs. The following titles are ready. •"• 



iiV A "nr^T T 'Q "HOTT^F I A Play in Three Acts. Translated by Wil- /AV 
W .tt. l-'Wl-l- O n.V.y UOC«l j.iAM Archer. Three male, four female char- ^I' 
ifiv acters, and three children. Price, 85 cents. /IV 

■ * THE PILLARS OF SOOETYJ ^,^^^\J^-^,^:i!^ /ft 

r — . ' Archer. Ten male, nine /AV 

female characters. Price, 25 cents. '"• 

if 

w 

SI/ 



I 

Nine male, two female charac- WIV 
Price. 25 cents. ^J^ 

nI/ 

Price, 25 cents. il> 

iili ■HT7r>'nA nART FP I A Drama in Four Acts. Translated by lk|i< 
\^f nSLULJn. KjADLJLr^* Edmund Gosse. Three male, four female W 
kj^ ' characters. --^ ^-- ha ^^ufja. ^gj 

\j/ THE MASTER BUILDER. I f:, mmZlmLS!!!!?!^5^1 

\y ' ^ 

?!. female churaoters. 




016 211 485 2 



s. J. PARKHiLL A CO., >niNTcRs. aomTON. U.S.A. 



HoUin 



